現代丹麥產品形態之研究

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2014

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隨著現今社會的高度發展與所得的增加,民眾對於生活品質的要求也日漸提高。對於所使用的產品,所重視的不再只僅限於產品功能上,在產品設計的表現上,能藉由造形、工法、材質、色彩等元素的組合,反映出某種意涵與特性,甚至能表現出獨特的設計形態,來吸引消費者,成為一個感性消費的時代。而在當代的設計潮流中,給人印象純淨簡約、以人為本的北歐設計風格,深受到世人的贊歎與欣賞。而在北歐諸國之中的丹麥,雖然國土面積狹小、自然資源缺乏、經濟倚賴出口為主,和台灣有著許多相似之處,然而丹麥卻能產生出獨立的設計風格與能力,在其產品風格中,形態佔有其重要之因素,這是值得探討研究的目標。 因此在本研究中,首先由文獻探討部份著手,了解文化定義中所包含的項目,再分析風格形成之要素,並與產品設計之定義作為對應,由其中挑選與產品形態形成的相關元素,以此為依據進行個案分析。個案分析分為兩大部份,先分析研究丹麥背景之分析研究,接著再以研究丹麥設計風格樣品之方式,從產品設計的角度,分析整理出丹麥產品設計的形態元素與特色,最後將研究所得之丹麥產品形態元素,導入實務創作之中,加以驗證與比對。 經由研究所得與創作後,對於現代丹麥產品形態歸納出重點如下:(1)現代丹麥產品設計之形態雖然多元,但造形仍為簡約洗練、(2)產品的細部處理與材質部份等,皆以功能性為取向,鮮少刻意隱藏或添加裝飾、(3)產品上單一顏色會佔據產品表面絕大部份面積,極少見到3種以上的顏色搭配、(4)丹麥國內的自然環境與生活文化等,反應在現代丹麥產品設計元素之上。綜合以上四點,而形成了丹麥特有之產品形態。
People’s demands for quality of life increase with the advancement of society and the increase of incomes. For the products they use, they pay growing attention to more than just the functions of product. For the presentation of product design, the combination of elements, such as pattern, method, material and color, reflects certain implication and characteristics, and even represents a unique design style to appeal to consumers, thus turning this world into an era of perceptual consumption. In the trends of contemporary design, the Scandinavian design style that features purity, simplicity and focuses on people has been admired and awed by the world. As one of the Nordic countries, Denmark is similar to Taiwan in several ways, for example, small in size, lack of natural resources and economic dependence on exports. However, Denmark came up with its distinctive design style and capability. The morphology plays an important part in its product styles and that is worth studying. Therefore, this study started with literature review in the attempt to find out the definition of culture and what is included in this definition. The elements of how the style came to be were investigated and compared with the definition of product design. Factors related to the formation of product style were selected as the basis for case study, which came in two parts. The first was the analysis of Denmark’s backgrounds and the other was the study on how Danish designers design their styles of sample. From the point of view of product design, the morphological elements and characteristics of Danish design style were identified. Finally, the morphological elements of Danish design styles identified in the study were introduced to practical works for verification and comparison. The following conclusions were reached for contemporary product design based on the findings and creations: (1) the styling of contemporary Danish product design is still simple and slick despite the diversity of patterns; (2) the details of product and materials selected are function-oriented and rarely there is any attempt to hide something or add extra decoration; (3) most of the surface area of a product is often covered in a single color and combinations of 3 or more colors are rarely seen; and (4) the natural environment, life and culture of Denmark are reflected on the design elements of Danish products. These 4 findings lead to the product morphology unique to Denmark.

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北歐設計, 產品設計, 風格, 形態, 丹麥, Scandinavian design, Product Design, Style, Morphology, Denmark

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